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The respective work of Ron Haselden and John Timberlake reflects aspects of each artist’s engagement with landscape. Both see landscape and topography as a construction of time as well as space. They think of landscape involving an awareness of human time (the time of the artist, of the viewer), as well as geological and astronomical ‘deep’ time (the time of the Earth as a planet).  Seen like this, a landscape is a palimpsest of small and large lifecycles, of geological forms and processes, and of shifting human perceptions.

Perhaps W.J.T. Mitchell's* well-known proposal that the word ‘landscape’ should be regarded as a verb rather than a noun is relevant here, since it implies actions in time and space by the artists as they move across the real or virtual landscape, reflecting on their relations with it.

As with time, so also with big and small space – both artists’ practices reflect upon the macro and the micro,  'zooming in and zooming out', and both have an element of  what we might think of as 'ocularity'. An ocularist is a maker of artificial eyes, and in different ways both practices start by looking at the landscape through ‘artificial eyes’ – either the camera lens or the Internet.